Re: substitutions: Days of Wine and Roses
Bert Ligon ( BLigon@mozart.music.sc.edu )
Wed, 2 Oct 1996 08:10:26 -0400
>At 03:52 AM 10/2/96 -0400, you wrote:
>>
>>>
>>>The Ami7b5 is from the ii/V7 idea and the Eb7 from the ivm6 idea as it is
>>>just Bbm6/Eb in this instance. In other words the Eb7 is not a true
>>>dominant. A true dominant always has resolution of the tritone interval
>>>which makes it go to a I or the tritone sub's I.
>>>
>>The Eb7 resolves down a half step to the D7, the tritone resolves (G-Db) to
>>(F#-D). I find an interesting device to use on this tune is to modulate up
>>to Ab for the second part of the tune. (bar 17 to end) It really pushes the
>>solo's along. Just add a Bb-7 Eb7 in bar 16 and your off!
>>
>
>Well this is still a little tricky. I kind of glossed over things here.
>
>Even though in this case it's resolving by a half step, it's still really a
>ivm in the key of F.
>
>For example, try altering the 9 or 13 or adding a #5 and you will see it
>doesnt
>really sound right.
>
>Its an Eb#11 which is essentially a Bb jazz minor chord. It's like a bVI chord
>in minor.
>
>That chord wil not resolve to a I, i.e. Abmaj7.
>
>
Another point of view regarding the Eb9#11 in the second measure. It could
be a tritone substitute for and A7 chord which would point us toward a Dm7
(the vi7 chord in F). As is often the case, when the bass arrives at D, it
is not a vi7, but D7, the dominant of Gm. I had this exact passage in a
harmonic dictation quiz many years ago. I quickly heard the chords because
of jazz background. In the traditional setting the theory teacher labeled
our Eb chord an augmented 6th chord, (French sixth) as a setup to the D7,
(V7 of G minor).
_______________________________________
Bert Ligon
Director of Jazz Studies
_______________________________________
School of Music
University of South Carolina
Columbia, SC 29208
Voice: (803) 777-6565
Fax: (803) 777-6508
bligon@mozart.sc.edu
_______________________________________